Beloved

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It is the mid-1800s. At Sweet Home in Kentuckhy, an era is ending as slavery comes under attack from the abolitionists. The worlds of Halle and Paul D. are to be destroyed in a cataclysm of torment and agony. The world of Sethe, however, is to turn from one of love to one of violence and death - the death of Sethe's baby daughter Beloved, whose name is the single word on the tombstone, who died at her mother's hands, and who will return to claim retribution.

**One of the BBC's 100 Novels That Shaped Our World**

Excerpt provided by Syndetics

I 124 WAS SPITEFUL. Full of a baby's venom. The women in the house knew it and so did the children. For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims. The grandmother, Baby Suggs, was dead, and the sons, Howard and Buglar, had run away by the time they were thirteen years old--as soon as merely looking in a mirror shattered it (that was the signal for Buglar); as soon as two tiny band prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the doorsill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed. No. Each one fled at once--the moment the house committed what was for him the one insult not to be borne or witnessed a second time. Within two months, in the dead of winter, leaving their grandmother, Baby Suggs; Sethe, their mother; and their little sister, Denver, all by themselves in the gray and white house on Bluestone Road. It didn't have a number then, because Cincinnati didn't stretch that far. In fact, Ohio had been calling itself a state only seventy years when first one brother and then the next stuffed quilt packing into his hat, snatched up his shoes, and crept away from the lively spite the house felt for them. Baby Suggs didn't even raise her head. From her sickbed she heard them go but that wasn't the reason she lay still. It was a wonder to her that her grandsons had taken so long to realize that every house wasn't like the one on Bluestone Road. Suspended between the nastiness of life and the meanness of the dead, she couldn't get interested in leaving life or living it, let alone the fright of two creeping-off boys. Her past had been like her present--intolerable--and since she knew death was anything but forgetfulness, she used the little energy left her for pondering color. "Bring a little lavender in, if you got any. Pink, if you don't." And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color. Sky provided the only drama, and counting on a Cincinnati horizon for life's principal joy was reckless indeed. So Sethe and the girl Denver did what they could, and what the house permitted, for her. Together they waged a perfunctory battle against the outrageous behavior of that place; against turned-over slop jars, smacks on the behind, and gusts of sour air. For they understood the source of the outrage as well as they knew the source of light. Baby Suggs died shortly after the brothers left, with no interest whatsoever in their leave-taking or hers, and right afterward Sethe and Denver decided to end the persecution by calling forth the ghost that tried them so. Perhaps a conversation, they thought, an exchange of views or something would help. So they held hands and said, "Come on. Come on. You may as well just come on." The sideboard took a step forward but nothing else did. "Grandma Baby must be stopping it," said Denver. She was ten and still mad at Baby Suggs for dying. Sethe opened her eyes. "I doubt that," she said. "Then why don't it come?" "You forgetting how little it is," said her mother. "She wasn't even two years old when she died. Too little to understand. Too little to talk much even." "Maybe she don't want to understand," said Denver. "Maybe. But if she'd only come, I could make it clear to her." Sethe released her daughter's hand and together they pushed the sideboard back against the wall. Outside a driver whipped his horse into the gallop local people felt necessary when they passed 124. "For a baby she throws a powerful spell," said Denver. "No more powerful than the way I loved her," Sethe answered and there it was again. The welcoming cool of unchiseled headstones; the one she selected to lean against on tiptoe, her knees wide open as any grave. Pink as a fingernail it was, and sprinkled with glittering chips. Ten minutes, he said. You got ten minutes I'll do it for free. Ten minutes for seven letters. With another ten could she have gotten "Dearly" too? She had not thought to ask him and it bothered her still that it might have been possible--that for twenty minutes, a half hour, say, she could have had the whole thing, every word she heard the preacher say at the funeral (and all there was to say, surely) engraved on her baby's headstone: Dearly Beloved. But what she got, settled for, was the one word that mattered. She thought it would be enough, rutting among the headstones with the engraver, his young son looking on, the anger in his face so old; the appetite in it quite new. That should certainly be enough. Enough to answer one more preacher, one more abolitionist and a town full of disgust. Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough. Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil. "We could move," she suggested once to her mother-in-law. "What'd be the point?" asked Baby Suggs. "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby. My husband's spirit was to come back in here? or yours? Don't talk to me. You lucky. You got three left. Three pulling at your skirts and just one raising hell from the other side. Be thankful, why don't you? I had eight. Every one of them gone away from me. Four taken, four chased, and all, I expect, worrying somebody's house into evil." Baby Suggs rubbed her eyebrows. "My firstborn. All I can remember of her is how she loved the burned bottom of bread. Can you beat that? Eight children and that's all I remember." "That's all you let yourself remember," Sethe had told her, but she was down to one herself--one alive, that is--the boys chased off by the dead one, and her memory of Buglar was fading fast. Howard at least had a head shape nobody could forget. As for the rest, she worked hard to remember as close to nothing as was safe. Unfortunately her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs. Nothing else would be in her mind. The picture of the men coming to nurse her was as lifeless as the nerves in her back where the skin buckled like a washboard. Nor was there the faintest scent of ink or the cherry gum and oak bark from which it was made. Nothing. Just the breeze cooling her face as she rushed toward water. And then sopping the chamomile away with pump water and rags, her mind fixed on getting every last bit of sap off--on her carelessness in taking a shortcut across the field just to save a half mile, and not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them; or Here Boy lapping in the puddle near her feet, and suddenly there was Sweet Home rolling, rolling, rolling out before her eyes, and although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty. It never looked as terrible as it was and it made her wonder if hell was a pretty place too. Fire and brimstone all right, but hidden in lacy groves. Boys hanging from the most beautiful sycamores in the world. It shamed her--remembering the wonderful soughing trees rather than the boys. Try as she might to make it otherwise, the sycamores beat out the children every time and she could not forgive her memory for that. When the last of the chamomile was gone, she went around to the front of the house, collecting her shoes and stockings on the way. As if to punish her further for her terrible memory, sitting on the porch not forty feet away was Paul D, the last of the Sweet Home men. And although she could never mistake his face for another's, she said, "Is that you?" "What's left." He stood up and smiled. "How you been, girl, besides barefoot?" When she laughed it came out loose and young. "Messed up my legs back yonder. Chamomile." He made a face as though tasting a teaspoon of something bitter. "I don't want to even hear 'bout it. Always did hate that stuff." Sethe balled up her stockings and jammed them into her pocket. "Come on in." "Porch is fine, Sethe. Cool out here." He sat back down and looked at the meadow on the other side of the road, knowing the eagerness he felt would be in his eyes. "Eighteen years," she said softly. "Eighteen," he repeated. "And I swear I been walking every one of em. Mind if I join you?" He nodded toward her feet and began unlacing his shoes. "You want to soak them? Let me get you a basin of water." She moved closer to him to enter the house. "No, uh uh. Can't baby feet. A whole lot more tramping they got to do yet." "You can't leave right away, Paul D. You got to stay awhile." "Well, long enough to see Baby Suggs, anyway. Where is she?" ''Dead.'' "Aw no. When?" "Eight years now. Almost nine." "Was it hard? I hope she didn't die hard." Sethe shook her head. "Soft as cream. Being alive was the hard part. Sorry you missed her though. Is that what you came by for?" "That's some of what I came for. The rest is you. But if all the truth be known, I go anywhere these days. Anywhere they let me sit down." "You looking good." "Devil's confusion. He lets me look good long as I feel bad." He looked at her and the word "bad" took on another meaning. Sethe smiled. This is the way they were--had been. All of the Sweet Home men, before and after Halle, treated her to a mild brotherly flirtation, so subtle you had to scratch for it. Except for a heap more hair and some waiting in his eyes, he looked the way he had in Kentucky. Peachstone skin; straight-backed. For a man with an immobile face it was amazing how ready it was to smile, or blaze or be sorry with you. As though all you had to do was get his attention and right away he produced the feeling you were feeling. With less than a blink, his face seemed to change--underneath it lay the activity. "I wouldn't have to ask about him, would I? You'd tell me if there was anything to tell, wouldn't you?" Sethe looked down at her feet and saw again the sycamores. "I'd tell you. Sure I'd tell you. I don't know any more now than I did then." Except for the churn, he thought, and you don't need to know that. "You must think he's still alive." "No. I think he's dead. It's not being sure that keeps him alive." "What did Baby Suggs think?" "Same, but to listen to her, all her children is dead. Claimed she felt each one go the very day and hour." "When she say Halle went?" "Eighteen fifty-five. The day my baby was born." "You had that baby, did you? Never thought you'd make it." He chuckled. "Running off pregnant." "Had to. Couldn't be no waiting." She lowered her head and thought, as he did, how unlikely it was that she had made it. And if it hadn't been for that girl looking for velvet, she never would have. "All by yourself too." He was proud of her and annoyed by her. Proud she had done it; annoyed that she had not needed Halle or him in the doing. "Almost by myself. Not all by myself. A whitegirl helped me." "Then she helped herself too, God bless her." "You could stay the night, Paul D." "You don't sound too steady in the offer." Sethe glanced beyond his shoulder toward the closed door. "Oh it's truly meant. I just hope you'll pardon my house. Come on in. Talk to Denver while I cook you something." Paul D tied his shoes together, hung them over his shoulder and followed her through the door straight into a pool of red and undulating light that locked him where he stood. "You got company?" he whispered, frowning. "Off and on," said Sethe. "Good God." He backed out the door onto the porch. "What kind of evil you got in here?" "It's not evil, just sad. Come on. Just step through." He looked at her then, closely. Closer than he had when she first rounded the house on wet and shining legs, holding her shoes and stockings up in one hand, her skirts in the other. Halle's girl--the one with iron eyes and backbone to match. He had never seen her hair in Kentucky. And though her face was eighteen years older than when last he saw her, it was softer now. Because of the hair. A face too still for comfort; irises the same color as her skin, which, in that still face, used to make him think of a mask with mercifully punched-out eyes. Halle's woman. Pregnant every year including the year she sat by the fire telling him she was going to run. Her three children she had already packed into a wagonload of others in a caravan of Negroes crossing the river. They were to be left with Halle's mother near Cincinnati. Even in that tiny shack, leaning so close to the fire you could smell the heat in her dress, her eyes did not pick up a flicker of light. They were like two wells into which he had trouble gazing. Even punched out they needed to be covered, lidded, marked with some sign to warn folks of what that emptiness held. So he looked instead at the fire while she told him, because her husband was not there for the telling. Mr. Garner was dead and his wife had a lump in her neck the size of a sweet potato and unable to speak to anyone. She leaned as close to the fire as her pregnant belly allowed and told him, Paul D, the last of the Sweet Home men. Excerpted from Beloved: Special Edition by Toni Morrison All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Library Journal Review

Morrison's prize-winning, masterly, and disturbing novel Beloved should be an essential part of every library in every format. The story of the escaped slave Sethe and the past that literally and figuratively haunts her is rightfully still vivid, and, in Morrison's controlled reading, the words and images linger powerfully in our mind's eye. The novel was both well researched and imaginatively constructed to show the horrors and costs of both slavery and freedom for these characters who are by turns unforgettable, tragic, and mystical. The library packaging in CD format will allow libraries to enhance their collections or replace the original 20-year-old cassette version. Highly recommended.-Joyce Kessel, Villa Maria Coll., Buffalo, NY (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

Set in post-Civil War Ohio, this Pulitzer Prize-winning novel concerns a runaway slave and her daughter, whose lives are disrupted by a former slave, a spirit and a woman named Beloved. According to PW, this ``brilliantly conceived story . . . should not be missed.'' (Feb.) (c) Copyright PWxyz, LLC. All rights reserved

CHOICE Review

Toni Morrison's fifth novel, Beloved, is the story of the life and loves of Sethe, an escaped slave who had preferred the risk of death to slavery for both herself and her children. Readers who know Morrison's fiction will find familiar themes-the struggle for identity, the all-consuming demands of love, the inescapable presence of the past-explored in a lyric style that combines realistic detail with folktale, legend, and myth. The technique invites almost inevitable comparison with Morrison's masterpiece, Song of Solomon (1977), and indeed there are numerous haunting parallels between Sethe's household and that of Pilate Dead that may illustrate a weakness in this latest novel. The fragile equilibrium between reality and myth so carefully sustained in Song of Solomon is less successful in Beloved, and, as a result, Sethe and her family are less real, less flesh-and-blood than the Deads. And the continual employment of flashbacks in the latter novel occasionally leads to confusion. These criticisms, however, are relatively minor; Song of Solomon is a great novel; Beloved, a very good one. Morrison is one of a handful of contemporary novelists whose work will, in this reviewer's judgment, stand the test of time. For academic, secondary school, and public libraries.-C.E. Davis, University of North Carolina at Greensboro

Booklist Review

This literally haunting novel encapsulates the horror of slavery and the consuming passion of motherhood in a single act of defiance by a runaway slave. (Jl 87 Upfront)

Kirkus Book Review

Morrison's truly majestic fifth novel--strong and intricate in craft; devastating in impact. Set in post-Civil War Ohio, this is the story of how former slaves, psychically crippled by years of outrage to their bodies and their humanity, attempt to ""beat hack the past,"" while the ghosts and wounds of that past ravage the present. The Ohio house where Sethe and her second daughter, ten-year-old Denver, live in 1873 is ""spiteful. Full of a [dead] baby's venom."" Sethe's mother-in-law, a good woman who preached freedom to slave minds, has died grieving. It was she who nursed Sethe, the runaway--near death with a newborn--and gave her a brief spell of contentment when Sethe was reunited with her two boys and first baby daughter. But the boys have by now run off, scared, and the murdered first daughter ""has palsied the house"" with rage. Then to the possessed house comes Paul D., one of the ""Pauls"" who, along with Sethe, had been a slave on the ""Sweet Home"" plantation under two owners--one ""enlightened,"" one vicious. (But was there much difference between them?) Sethe will honor Paul D.'s humiliated manhood; Paul D. will banish Sethe's ghost, and hear her stories from the past. But the one story she does not tell him will later drive him away--as it drove away her boys, and as it drove away the neighbors. Before he leaves, Paul D. will be baffled and anxious about Sethe's devotion to the strange, scattered and beautiful lost girl, ""Beloved."" Then, isolated and alone together for years, the three women will cling to one another as mother, daughter, and sister--found at last and redeemed. Finally, the ex-slave community, rebuilding on ashes, will intervene, and Beloved's tortured vision of a mother's love--refracted through a short nightmare life--will end with her death. Morrison traces the shifting shapes of suffering and mythic accommodations, through the shell of psychosis to the core of a victim's dark violence, with a lyrical insistence and a clear sense of the time when a beleaguered peoples' ""only grace. . .was the grace they could imagine. Copyright ©Kirkus Reviews, used with permission.